PROFILE

Smithsonian National Portrait Gallery News

Fall/Winter 2009
From the Director
Its been a busy time at the National Portrait
Gallery, as you can see from the pages of Profile.
Not only has our second Outwin Boochever Portrait
Competition opened to great acclaimthe winning
image, Laura by Dave Woody, is on the cover
but we have reaped the rewards from the first,
2006, competition as well. That first portrait com-
petition has resulted in winner David Lenzs striking
commissioned portrait of Eunice Kennedy Shriver,
founder of Special Olympics, along with some of
the individuals who have participated in her won-
derful programs. The Shriver portrait, unveiled
this past May, is the Portrait Gallerys first com-
missioned work that does not depict a president.
Frank Goodyears new exhibition Faces of the
Frontier is the Portrait Gallerys new venture
into its substantial collection of portraiture focus-
ing on the history of the West, and it gives us a
close-up look at such varied individuals as artist
Albert Bierstadt, confectioner Domingo Ghiradelli,
entrepreneur Leland Stanford, and the infamous
Hole in the Wall gang, led by Butch Cassidy and
the Sundance Kid. Meanwhile, our Portraiture
Now series continues to spotlight the work of
contemporary portrait artists with the current ex-
hibition, Communities, featuring painters Rose
Frantzen, Jim Torok, and Rebecca Westcott.
And contrary to popular belief, the end of an
exhibition doesnt signal the end of all of the time
and research that went into its development. In
fact, our One Lifethe Mask of Lincoln show, Brandon and my other Portrait Gallery colleagues,
which closed in July, has taken on a new life as part
of the Smithsonian in Your Classroom program.
And not only can you still see the Presidents
in Waiting exhibition until early January, but
its award-winning video componentinterviews
Mark Gulezian
with past vice presidents
will continue to have
a presence on the Web.
Speaking of the Web, our site has been redesigned
and expandedlook inside for further details.
Whether you can travel to the Portrait Gallery to
see our recent acquisitions or such weekend pro-
grams as Warholapalooza! or see us on the Web
or bothplease also visit the pages inside to keep
up with some of our activities.
All of these programs have a price tagnot
only in actual dollars but also in staff time. With
this issue, Profile goes from a three-times-a-year,
sixteen-page publication to a twice-a-year, twenty-
page publication for reasons of economy and time.
Originally begun in 2000 as a way to keep in
touch with our public while the museum building
was closed for renovation, Profile has changed
with the National Portrait Gallery, now focusing
on the exhibitions and activities in the revitalized
building.
We would like to dedicate this issue of Profile
to former staff member Mark Planisek, who wrote
for these pages in the past. Mark, one of our art
handlers, was killed while crossing a street in June.
We miss him tremendously.
At present, I am awaiting some major unantici-
pated surgery. The prognosis for a full recovery is
excellent. Dr. Brandon Fortune has accepted the
position of acting director. I am very grateful to
to the members of the National Portrait Gallery
Commission, to Smithsonian Secretary G. Wayne
Clough, Under Secretary Richard Kurin, and many
other colleagues for their great assistance, encour-
agement, and generous support.
Martin Sullivan, Director
PROFILE
Contents
Vol. 9, no. 4 & vol. 10, no. 1 Martin E. Sullivan Director
Fall/Winter 2009 Brandon Fortune Acting Director
Carolyn Carr Deputy Director and
With this issue, Profile is now published in two volumes per year. Chief Curator
Sherri Weil Director of External
4 15 Affairs
Nik Apostolides Associate Director of
Faces of the Frontier Warholapalooza! Operations
Editor
5 16 Dru Dowdy Office of Publications

Portraiture Now: Interning at NPG Associate Editor

Ann M. Shumard Department of
Communities American Poets Photographs
Editorial Committee
6 in England Bethany Morookian Office of Development
Bentley and External Affairs
Life beyond Lincoln 17 Rebecca Kasemeyer Office of Education
Ellen G. Miles Department of
7 NPG Online Painting and Sculpture
Lizanne Reger Office of Photographic
Mr. Vice President 18 Services
David C. Ward Department of History
8 NPG Exhibitions Editorial Support
Historians Choice 20
Maya Foo Editorial Assistant
Duke Ellington Design
Portrait Puzzlers Naylor Design, Inc.

9 Commission
Mallory Walker, chair Jack H. Watson Jr.
Curators Choice John O. Boochever, William D. Wittliff
vice chair
Will Barnet James T. Bartlett
Ex Officio Members
G. Wayne Clough
Anthony C. Beilenson
10 Sheryll D. Cashin
Earl A. Powell III
John G. Roberts Jr.
Sally G. Chubb
Recent Acquisitions Linda S. Ferber Honorary
Ella Milbank Foshay Commissioners
12 Steven K. Hamp
Michael Harreld
Julie Harris
David Levering Lewis
Portrait Competition Jill Krementz
Roger Mudd
Bette Bao Lord
Fred W. Smith
Update! V. Thahn Nguyen Emeritus
Dan Okrent Commissioners
14 James Reinsch
W. Dean Smith
Jeannine Smith Clark
Barbara Novak
NPG Unveils Shriver
Portrait
PROFILE
National Portrait Gallery
Smithsonian Institution
P.O. Box 37012, MRC 973
Washington, DC 20013-7012
Cover: Laura (detail) by Dave Woody, Phone: (202) 633-8300
2007. Collection of the artist E-mail: NPGnews@si.edu
Web site: npg.si.edu
Dave Woody
Hours: 11:30 a.m.7:00 p.m.
Dave Woodys photograph won Readers comments are welcome. To
first prize in the Outwin Boochever receive Profile, please send your name,
Portrait Competition 2009. home address, and e-mail address to
See pages 1213. NPGnews@si.edu or the post office box
listed above.
Unless otherwise noted, all images are from the
National Portrait Gallery collection and are taken by
Mark Gulezian.
2009 Smithsonian Institution. All rights reserved.
Faces of the Frontier
Photographic Portraits from the American West, 18451924

Faces of the Frontier showcases more than one hun-

dred vintage photographic portraits of leading men and
women who contributed to the transformation of the
American West. Focused on the eighty-year period be-
tween the Mexican War and the passage of the Indian
Citizenship Act of 1924, the exhibition highlights such
dramatic changes as the completion of the transconti-
nental railroad, various conflicts between Native Ameri-
cans and non-Natives, and the establishment of the first
national parks.
The exhibition features photographs of such iconic
figures as Red Cloud, George A. Custer, Sam Houston,
Calamity Jane, and John Muir, and the images are
drawn primarily from the Portrait Gallerys permanent
collection.

Red Cloud by Charles Milton Bell, 1880

Above: Calamity Jane

by George W. Potter,
c. 1896

Left: George A.
Custer by an
unidentified artist,
c. 1860
John Muir by William Dassonville, c. 1910

4 Faces of the Frontier

Portraiture Now: Communities
Through new electronic networking capabilities,
our connections with family, friends, and acquain-
tances have become increasingly widespread. And
yet, we are still drawn to the idea of small commu-
nities and face-to-face interaction. Each of the three
painters selected for Portraiture Now: Communi-
ties has explored this idea through a series of re-
lated portraits of friends, townspeople, or families.
Rose Frantzen portrayed 180 people from her
hometown of Maquoketa, Iowa, over a twelve-
month period. Jim Torok creates meticulously ren-
dered small-scale portraits. On view will be his por-
traits of fellow artists from New York, as well as a
series documenting three generations of a single
family. Rebecca Westcott, until her untimely death
in 2004, created subtle full-length images that
merge expressive style with a gritty street-art aes-
thetic. Seen together, their paintings suggest the en-
during power of personal communities.

Estate of Rebecca Westcott

Chi with Atari by Rebecca Westcott, 2004. Shelley
Spector and Yvonne Latty
Rose Frantzen

Rochelle Ray (from the Portrait of Maquoketa series)

by Rose Frantzen, 20056. Collection of the artist
Rose Frantzen

Jim Torok

John Burroughs (from the

Portrait of Maquoketa series) Trenton Doyle Hancock by Jim Torok, 2008. Julie and
by Rose Frantzen, 20056. John Thornton
Collection of the artist

Portraiture Now: Communities 5

Life beyond Lincoln:
Programming and Outreach
Rebecca Kasemeyer
Director of Education
Organizing a museum exhibi-
tion takes a lot of effort for
many people, and the resulting
show usually stays up no more
than six months. Although the
success of NPGs now-closed
exhibition celebrating the bicen-
tennial of Abraham Lincolns
birthOne Life: The Mask of
Lincoln (November 7, 2008
July 5, 2009)comes as no sur-
prise, another pleasant outcome
has been the programming and
outreach inspired by the exhibi-
tion, which examines how the sixteenth president
used photography to convey his image to Ameri-
cans. In addition to gallery tours for school
groups and adults, the Portrait Gallery produced
many programs and educational materials that
are available online and have remained accessible
after the closing of the exhibition. The Mask of
Lincoln still provides an opportunity to reach
out to the public and teachers through educa-
tional workshops, discussions, and seminars.
This past February, David Ward, the exhibition
curator, and Briana Zavadil White, teacher and
school coordinator, participated in a Smithsonian-
sponsored online seminar devoted to Lincoln.
Following Wards keynote address based on the ex-
hibition, White gave an overview of classroom ap-
plications, including lesson plans and images for
classroom instruction. More than 2,000 educators,
historians, and students participated. Those taking
part in the online conference submitted questions to
the speakers during the presentation, which allowed
for a dynamic interaction between the presenters
and the audience. The sessions were recorded and
may be found at www.smithsonianconferences.org.
Beyond the online conference, which offered an
opportunity to partner with other Smithsonian
units, the Portrait Gallery also ventured outside
the SI walls and partnered with Lincolns Cottage
in Northwest Washington, D.C., to provide a pro-
fessional development workshop for educators. A
daylong workshop, titled Photography, Portraits,
I shared the Lincoln posters with the local Moravian Academy, whose principal confirmed that
every teacher in every grade will find a way to incorporate them in history lessons next year.
Charlene Donchez Mowers, director of Historic Bethlehem Partnership, Pennsylvania (Smithsonian Affiliate)
6 Life beyond Lincoln
and Policies: The Lincoln Presi-
dency, took place at both insti-
tutions. The thirty-five attending
educators began the day with an
exhibition tour by Ward. After-
ward, participants worked in
groups to craft their own lesson
plans centered around Lincolns
legacy. After lunch in the Don-
ald W. Reynolds Centers Kogod
Courtyard, the group visited
Lincolns Cottage. There, par-
ticipants were given a tour by
curator Erin Mast and led
through a demonstration of an
interactive Lincolns Cabinet
program in which they played the roles of mem-
bers of Lincolns cabinet and discussed events re-
lated to the Emancipation Proclamation.
NPG staff also created a comprehensive Web site
(www.npg.si.edu/exhibit/lincoln/) that features high-
lights from the exhibition, lesson plans for use in
the classroom, and additional images and thoughts
from Ward about Lincolns contemporaries.
The Portrait Gallerys Office of Education also
partnered with the Smithsonian Center for Education
and Museum Studies to develop lessons and content
for its biannual publication Smithsonian in Your
Classroom. The entire issue, Abraham Lincoln:
The Face of a War, is devoted to the themes found
in the Mask of Lincoln exhibition. To down-
load a copy, visit www.smithsonianeducation.org/
educators/lesson_plans/lincoln/index.html.
The most recent life beyond the exhibition has
come from the Smithsonian Institution Traveling
Exhibition Service (SITES). In conjunction with the
Portrait Gallery, SITES produced a dynamic port-
folio version of The Mask of Lincoln exhibition.
The full-color, ten-portrait set is being distributed
at no cost to schools, libraries, and educational in-
stitutions and gives students across the United
States access to this multifaceted exhibition. To re-
quest a copy or download one directly, visit www.
sites.si.edu/lincoln/index.html. This portfolio, com-
bined with any of the online resources mentioned,
will offer an enriching gateway into the life and
times of Abraham Lincoln.
Mr. Vice President
Sidney Hart
Senior Historian and Editor,
Peale Family Papers
Portrait Gallery historian James
Barber and I began planning
Presidents in Waiting by look-
ing at the numbers: fourteen pres-
idents of the United States had
once been vice presidentsalmost
one-third of our forty-four presi-
dents. The exhibition is about
these fourteen vice presidents.
Here is another number: we have
five living former vice presidents
(perhaps not a record, but a sig-
nificant number): Walter Mon-
dale, Dan Quayle, George H. W.
Bush (who became president and
is thus in the exhibition), Al Gore,
and Dick Cheney.
In thinking about what it
might really be like to be vice president, there is pressed his disappointment at the treatment he
no substitute for a first-person account. Accom- received from the media and the failure to win re-
panying Presidents in Waiting with interviews election in 1992. George H. W. Bush also remem-
with the vice presidents would add a unique di- bered his surprise at being picked by Ronald Reagan,
mension to the exhibition. NPG contracted with since the two men had vigorously competed for
Martin Huberman of VideoArt Productions, and the Republican nomination in 1980. Bush empha-
we worked out the approach for the interviews. sized the importance of loyaltythat a president
We were able to obtain interviews from all ex- should never have to look over his shoulder to
cept Al Gore, whose schedule couldnt accom- check on his vice president. He also shared his in-
modate us. We asked the former vice presidents tense feelings on the day that Reagan was shot
what they were thinking and feeling when they how his decision to not return to the White House
got the call to be a running mate, how they by helicopteronly the president lands on the
related to the president, and what episodes stood South Lawnwas an expression of his loyalty to
out in their vice presidency. Everyone had a dif- the president. Dick Cheney talked about his own
ferent story to tell. internal dialogue about whether he wanted to
We interviewed Dick Cheney in the Old Execu- serve as George W. Bushs vice president after be-
tive Office Building but traveled to the others of- ing in public service for three decades and having
fices in Minneapolis, Phoenix, and Houston. With taken a position in the private sector in 1993.
Walter Mondale, we learned that he and President Cheney also discussed his feelings about the 9/11
Jimmy Carter discussed the duties of the vice pres- terrorist attacks and his subsequent actions when
ident and actually had a written agreement drawn the president was traveling and he had to manage
up, which they both signed. Mondale was pleased the crisis center in the White House.
with the relationship he had with the president, You can see these interviews in the exhibition,
and talked about the difficult time he and Carter which will be on view until January 3, 2010, and
had in trying to win reelection. Dan Quayle, who in excerpted form on the exhibitions Web site,
was in the Senate when he received the call, re- http://www.npg.si.edu/exhibit/VicePres/index.
membered his surprise that George H. W. Bush html. In May 2008, NPGs interviews with the
selected him to be his running mate but also his vice presidents received the American Association
instantaneous decision to accept the offer, insisting of Museums silver MUSE award for a video pro-
that all senators would do the same. Quayle ex- duced in conjunction with a museum exhibition.

Mr. Vice President 7

 HISTORIANS CHOICE Duke Ellington
Watercolor and graphite on paper by Tony Bennett (born 1926),
c. 1993, gift of Tony Bennett
Amy Henderson
Historian
That belongs in the National Portrait
Gallery! proclaimed renowned artist
Everett Raymond Kinstler to his life-
long friend Tony Bennett when Bennett
showed him the portrait he had paint-
ed of Duke Ellington (18991974).
And thus began a wonderful story.
In October 2008, Portrait Gallery
director Martin Sullivan and I were in-
vited to New York by Dick Golden, a
media broadcaster and close friend of
both Bennett and the museum, to meet
Bennett and see the Ellington portrait.
Celebrated as a peerless interpreter of
the American songbook, Bennett (born
Anthony Benedetto) has actually been a serious art-
ist as long as he has been a singer. Just as he per-
forms, he paints every day: each form of expression
nourishes a different side of his creative spirit.
On this golden autumn day, Bennett took us to
his studio, which looks out over Central Park. The
Ellington portrait was displayed on a wall and
came alive in the early afternoon light. Ellington
had been a mentor to Bennett and in his later years
would send the younger singer a dozen pink roses
whenever he finished writing a new composition
that he thought Bennett might like to record. In
these years, Ellington became quite spiritual, as
indicated by his late works, the three Sacred Con-
certs. Bennett paid homage to this sensibility in his
painting: When I worked on his portrait, I was
inspired by the look of divine serenity on his face,
he said, and he inscribed God Is Love across the
watercolor.
Enthused by the wonderful story this portrait
told, Sullivan conveyed the Portrait Gallerys inter-
est in acquiring it for our collection, andmuch to
our delightBennett replied that he would be
thrilled to offer it as a gift.
At this point, Goldenwho has an unsurpassed
expertise in matters concerning American music
and its interpreterssuggested that April 29 would
be the perfect moment to have the portrait pre-
sented to NPG, because it would mark the 110th
anniversary of Ellingtons birth. What better place
to celebrate the occasion but in Washington, D.C.,
where the Duke was born, and at the National
Portrait Gallery, which honors significant figures
in American life and culture.
On the morning of April 29, Bennett, his wife
Susan, and son Danny came to the museum for the
8 Historians Choice
portrait presentation. A jazz ensemble from the
Duke Ellington School of the Arts played Elling-
tons music on the McEvoy Auditorium stage as
press and invited guests assembled. After brief re-
marks by Sullivan and Bennett, the portrait was
unveiled.
During the question-and-answer session that
followed, Bennett spoke movingly about how
Ellington had transformed his life: traveling to-
gether on the road between performances, Elling-
ton told him, Do two things, dont do one. Ben-
nett explained that he embraced this advice by
both singing and painting every day, and that the
practice has been life-changing. No matter how
much he travels, he never gets bored or burned
out because after singing, he turns to painting,
and then from painting back to singing. Going
back and forth between the two gives him a fresh
startlife is a creative zone that continually
refreshes him. That gift, he concluded, came
from Duke.
Following the ceremony, the Ellington portrait
was taken to the first floor New Arrivals exhi-
bition, where it was hung almost directly across
the corridor from Shepard Faireys iconic por-
trait of Barack Obama. Now, if one were to con-
jure up a fanciful Night at the Museum scenario,
just imagine what conversations must take place
when these two portraits have the corridor to
themselves!
For further reading: John Edward Hasse, Beyond Category:
The Life and Genius of Duke Ellington (New York: Simon
& Schuster, 1993); Tony Bennett with Robert Sullivan,
Tony Bennett in the Studio: A Life of Art & Music (New
York: Sterling, 2007).
 CURATORS CHOICE Will Barnet
Oil on canvas self-portrait, 1980, gift of Will and Elena Barnet

Ellen G. Miles man, whose interest in artists self-portraits led

Curator of Painting and Sculpture her to form a large collection of drawings and
prints, now owned by the National Portrait Gal-
When I visited the artist Will Barnet (b. 1911) in his
lery as the Ruth Bowman and Harry Kahn Twen-
New York studio a few winters ago, he looked at me
tieth-Century American Self-Portrait Collection.
carefully for a minute or two and observed, You
Her portrait by Barnet is owned by the Metro-
look just like your father. While many people have
politan Museum of Art.
told me this, Barnet made the remark based on hav-
This work, Self-Portrait with Crow, which
ing painted my fathers portrait more than thirty-five
Barnet has generously given to the Portrait Gal-
years earlier, in 1971, for Rutgers University. His re-
lery, shows him in his Long Island studio. Its
mark reminded me that one of the special skills of a
horizontal composition includes a window that
portraitist is the ability to closely study and remem-
looks out on Gardiners Bay, near East Hampton.
ber individual facial features and expressions.
On the windowsill is the artists companion, a
My visit that day had a purpose: to inquire
crow. The bird was a neighbors pet who at times
about a self-portrait that he had offered the Por-
visited the studio. The crows black silhouette
trait Gallery. Although Barnet has painted a num-
mimics the position of the artists angular figure,
ber of fine portraits and self-portraits, this form of
and both the bird and the artist look out at the
art has not been his specialty, and they are rare.
viewer. Crows also appear in other paintings that
His most familiar works are figure studies done
Barnet painted in the late 1970s and early 1980s,
with contrasting colors in spare settings. As a
around the time of this self-portrait. Some show
painter, printmaker, and teacher, Barnet developed
solitary figures of women and have mystical
a style of his own that one critic described as
themes such as Circe, Hera, Persephone, and The
sharp-edged forms reduced to a carefully articu-
Three Muses. In those paintings the presence of
lated, decorative pattern; flat planes; space almost
the crows creates a mood of mysterious stillness.
completely compressed; colors applied without
In Barnets self-portrait, though, one can imagine
modulation or suggestion of texture.
the crow is about to make a comment to the
At ninety-eight years old, Will Barnet is going
viewers of the painting, who are the unseen visi-
strong and busy planning new exhibitions of his
tors to the artists studio.
work. His stamina no doubt came from his job as
the professional printer at the Art Students League For further reading: Robert Doty, Will Barnet (New York:
during his early years in New York City. He would Harry N. Abrams, 1984); Gail Stavitsky, Will Barnet: A
often print other artists work for as long as ten Timeless World (Montclair, N.J.: Montclair Art Museum,
hours a day, carrying heavy lithographic stones 2000).
between the studios of the
leagues building. He began
conducting graphic arts
workshops at the league in
1936, and pictorial themes
of his family began around
this time with the birth of his
eldest son. As Robert Doty
wrote in 1984, Every work
of art that Barnet has created
is a reflection of his tempera-
ment and life experience.
While his work was more
abstract in the 1940s and
1950s, he returned to figura-
tion in the 1960s. Among
these works are several por-
traits of New Yorkers, in-
cluding collector Ruth Bow-

Curators Choice 9
Recent Acquisitions
Thomas Ash II (1785after 1824)
Oil on canvas by Thomas Sully (17831872),
1807, partial gift of the fund in honor of
Barbara Novak
Thomas Ash II was a member of a family of New
York City chair-makers who, upon the death of his
father, William Ash, in 1815, succeeded to the
long established and well known manufactory of
Fancy and Windsor chairs at 33 John Street. Ash
also made frames for paintings, which could have
given him the opportunity to have his portrait
painted. A rare depiction of an early American
craftsman, this work was created shortly after the
young Thomas Sully had traveled to Boston to study
briefly with Gilbert Stuart, and when he was work-
ing as a studio assistant to John Trumbull.

Chuck Close (born 1940)

Engraving with polished stainless steel cylinder and
wooden base, self-portrait, 2007
Chuck Close frequently uses self-portraiture for vi-
sual experimentation. Here, his image, defying lin-
ear perspective, is stretched out and can only be
read in the mirrorlike cylinder placed in the center
of the print. The technique, called anamorphosis,
dates back to the Renaissance. More recently, ana-
morphic lenses have been used to correct astigmatic
eyesight, adjust the distortions of low-elevation aer-
ial photography, or adapt wide-screen films to dif-
ferent formats. Twentieth-century artists have used
anamorphosis for conceptual reasons: to question
the authority of the gaze or the reality and meaning
of perception.

Eadweard Muybridge (18301904)

Albumen silver print, self-portrait, 1872, gift of
Larry J. West
In this self-portrait Eadweard Muybridge is seated
at the base of the famous General Grant sequoia
tree, in northen California. Having immigrated to
California during the gold rush, Muybridge took
up photography as a profession and earned a repu-
tation for his panoramic cityscapes and large-format
views of the California landscape. The challenge of
photographing a horse in motion fascinated Muy-
bridge and inspired him to conduct further experi-
ments photographing individuals and animals in
motion. These studiesand the different machines
he devisedare recognized as forerunners of mod-
ern motion picture technology.

10 Recent Acquisitions
 Al Hirschfeld. Art reproduced by special arrangement with Hirschfelds
exclusive representative, the Margo Feiden Galleries, Ltd., New York
Bob Hope (19032003)
Ink on board by Al Hirschfeld (19032003), 1975
No American comedian has enjoyed greater popularity
than Bob Hope, who combined a rapid-fire delivery
with an encyclopedic memory for jokes to become one
of the best ad-libbers in show business. Everything
seems out of whack in Al Hirschfelds 1975 portrayal,
drawn for NBC. But Hope did stretch his chin sideways,
leer mischievously out of the corners of his eyes, and
arch his eyebrows to ridiculous heights. In addition to
keen characterization, Hirschfeld implies a sense of
movement, as if those whiplashing lines will soon ex-
plode and turn into someone else. The caricature con-
veys Hopes unabating joy in performance.

Madam C. J. Walker (18671919)

Gelatin silver print by Addison N. Scurlock (1883
1964), c. 1914, gift of ALelia Bundles and the
Walker Family
One of the most successful African American entrepre-
neurs of the early twentieth century, Madam C. J. Walk-
er created a line of phenomenally popular hair care and
beauty products that fueled a business empire. In 1905,
after devising a restorative formula to treat thinning and
damaged hair, she began marketing her products and
beauty regimen to the black community. Walkers lucra-
tive enterprise grew to employ thousands who served as
her agents or manufactured her beauty aids. This por-
trait by famed African American photographer Addison
N. Scurlock became Walkers trademark image and was
used extensively in her advertising.

Elie Wiesel (born 1928)

Bronze by Miriam Baker (born 1939), cast in 2007
from the 2001 original, gift of Miriam and
Arthur Baker
Elie Wiesel is renowned for his moving written and
oral testimony that confirmed the horrors of the Ho-
locaust for millions. He won the Nobel Peace Prize in
1986, and since 1976 he has been the Andrew W. Mel-
lon Professor in the Humanities at Boston University.
Miriam Bakers original bust was commissioned in
2001 for the Holocaust Library at Chapman Univer-
sity in Orange, California. The university arranged for
her to have multiple sittings with Wiesel in Boston,
where she observed the crossed-arm pose that she
chose for the portrait.
2001 Miriam Baker

Recent Acquisitions 11
Portrait Competition Update!
Brandon Brame Fortune
Curator of Painting and Sculpture
On May 28, 2009, the jury for the second Outwin Boochever
Portrait Competition met at an art storage facility in Mary-
land to select the prizewinners and other works for the exhibi-
tion from more than one hundred semifinalist works that had
been shipped there during the winter and early spring. Three
staff members from the National Portrait Gallery served on
the juryDirector Martin Sullivan, Deputy Director and Chief
Curator Carolyn Kinder Carr, and Curator of Painting and
Sculpture Brandon Fortunealong with four external experts:
Professor Emerita Wanda M. Corn of Stanford University;
Chicago artist Kerry James Marshall; New York artist Brian
Stanley Rayfield

ODoherty; and New Yorker art critic Peter Schjeldahl.

The jury chose forty-nine portraits for the exhibition, in-
cluding the seven shortlisted works illustrated here and on the
cover. The winners were announced at a gala awards event on
October 22. Laura, a photograph by Dave Woody, won the
Dad by Stanley Rayfield, Richmond,
first prize of $25,000. Woody will also receive a commission to
Virginia, oil on canvas, 2008. Collection
of the artist create a portrait of a remarkable living American for NPGs
permanent collection. For more information about the prize-
winners, go to www.portraitcompetition.edu.
The Portrait Competitions call for entries attracted more
than 3,300 submissions in all visual arts media, from digital
animation and video to large-scale drawings, prints and pho-
tographs, and a plethora of painted and sculpted portraits.
Entries poured in via an online entry form during the summer
of 2008 from every state in the union and from every age
group. Preliminary judging was also done online, using a spe-
cially designed jurying system, after which the jury convened
for the first time in Washington in October 2008 to select the
group of semifinalists.
The exhibition of prizewinners and other finalists will be
on view at the Portrait Gallery from October 23, 2009,
through August 22, 2010. The exhibition showcases the vari-
ety and excellence of current approaches to portraiture and
presents our visitors with vivid and imaginative images of
their contemporaries.
Adam Vinson

Dressy Bessy Takes a Nap by Adam

Vinson, Jenkintown, Pennsylvania, oil on
panel, 2008. Bill and Dara DiPietro
Jobyl A. Boone

The jury examines some of the semifinalists

work on May 28.

12 Portrait Competition Update!

 Gaela Erwin

Margaret Bowland
Above: Portrait of Kenyetta and Brianna by Margaret
Bowland, Brooklyn, New York, oil on linen, 2008.
Collection of the artist
Top left: Baptismal Self-Portrait by Gaela Erwin,
Louisville, Kentucky, pastel on paper, c. 20067.
Collection of Jackye and Curtis Finch Jr.
Left: Showered by Emil Robinson, Cincinnati, Ohio,
Emil Robinson

oil on panel, 2007. Collection of the artist

Yolanda del Amo

Sarah, David by Yolanda del Amo, Brooklyn, New York, C-print, 2007. Cover of the Outwin Boochever
Collection of the artist Portrait Competition 2009 catalog

Portrait Competition Update! 13

NPG Unveils Shriver Portrait
Eunice Kennedy Shriver by David Lenz, 2009
In 2006, as a part of winning the first prize for the
inaugural Outwin Boochever Portrait Competition,
artist David Lenz was also commissioned to create a
portrait of a living individual for the National Por-
trait Gallerys permanent collection. NPG, working
together with Lenz, paired him with Eunice Kennedy
Shriver (19212009), founder of Special Olympics.
Shrivers efforts have transformed the lives of
individuals worldwide: millions of athletes in
more than 180 countries participate annually in
Special Olympics games. The inspiration for the
pairing of Shriver and Lenz came from the artists
winning portrait, Sam and the Perfect World, a
highly realistic work depicting his son looking di-
rectly at the viewer from a sunny Wisconsin field.
Sam, who has Down Syndrome, is an active Spe-
cial Olympics athlete.
On May 9, 2009, the day before Mothers Day,
the culmination of the first portrait competition
took place with the presentation of Lenzs portrait
of Shriver. Notably, it was the first time NPG had
commissioned a portrait of an individual who has
not served as president or first lady.
Shriver, with many members of her family, at-
tended the portrait presentation. Her son Bobby un-
veiled the painting with Lenz. The painting takes a
different approach from most traditional portraits
in that it also includes five more individualsfour
Special Olympics athletes and one Best Buddy Am-
bassador. From left to right in the painting they are:
Airika (pronounced Erica) Straka, Katie Meade,
Andy Leonard, Loretta Claiborne, Shriver, and
Marty Sheets. Each of these individuals has an
inspirational life story. All have the common tie of
14 NPG Unveils Shriver Portrait
being influenced by Shrivers work to bring dignity
and inclusion to people with intellectual disabilities.
In the scene, Shriver stands on the beach near her
home in Cape Cod. She is positioned in the middle
of the group; they all have their backs to the storm
clouds and face the sun as it gleams on the ocean.
Straka, the youngest in the group, reaches to the
sun, which Lenz painted as if it were in the midst of
a rare solar display.
Lenz works from life, from painted and drawn
sketches, and from photographs. For this portrait,
he photographed Shriver and three of the athletes
at Shrivers Maryland home, and the other two
athletes in their hometowns. Lenz said of the paint-
ing and of Shriver, I chose to include the solar
display to demonstrate the light of hope that is Mrs.
Shrivers work. She has led the world to be a more
welcoming place for people with intellectual dis-
abilities.
After its unveiling, the painting was installed in
the museum on the second floor just as visitors enter
Americas Presidents.
Former NPG docent Virginia Outwin Boochever
brought the vision of an endowed national portrait
competition to life by making a generous donation
to the National Portrait Gallery. The competition,
held triennially, had its first call for entries of
painted and sculpted portraits in 2005, with a
resulting exhibition in 2006. See pages 1213 for
more information about the current competition.
Warholapalooza!
Ian Cooke
Public Program Manager

Interviewer: Do you think pop art is

Andy Warhol: No. No, I dont.

Mike Maizels
The art of Andy Warhol (19281987) seems to pop
up everywhere. It invites us to take a fresh look at
something we might have mistaken for ordinary and
challenges our definitions of art. At the same time,
Author and artist James Warhola speaks
Warhol mocks our insistence that artists reveal in the Kogod Courtyard
themselves to us through their work. On June 20,
visitors thronged Warholapalooza! a program at the
Portrait Gallery that discussed these topics and ex-
plored connections to the world of Warhol.
Several portraits by Warhol provided a visual
backdrop throughout the galleries. At the time of
the program, four of Warhols works were dis-
played, in different contexts: the New Arrivals gal-
lery featured a silkscreen of Jimmy Carter; Marilyn
was displayed in Twentieth-Century Americans;
Warhols hushed, shadowy self-portrait in Reflec-

tions/Refractions revealed his knack for withhold-
ing himself from the viewer; and, a few steps away,
his Screen Test of Marcel Duchamp showed an un-
mediated view of the Frenchman whose sense of art
and image so influenced Warhols.
Callie Angell, the worlds foremost authority on
Warhols cinema, presented and discussed eight of
the Screen Tests in a memorable Reel Portraits
event. Between 1964 and 1966, Warhol filmed 472
Screen Tests, short motion-picture portraits of his
friends, colleagues, and acquaintances. The Screen
Tests amount to a mosaic of New Yorks art scene
at a time of special ferment, with sitters such as
Marcel Duchamp, Lou Reed, and Edie Sedgwick. In
her presentation, Angell showed how the Screen
Tests create a reflected portrait of Warhol: his fasci-
nation with the human face; his odd brand of social
agility; and his mastery of cinematic image are the
pillars on which the Screen Tests stand.
It has been said that there would have been no
Andy Warhol if not for Marcel Duchamp. The biog-
rapher and art critic Calvin Tomkins, who knew
(and wrote biographies of) both men, spoke to this
point in a far-ranging discussion with NPG curator
Anne Collins Goodyear. Goodyear, whose exhibi-
tion Inventing Marcel Duchamp: The Dynamics of
Portraiture ran from March 27 to August 2, said
Tomkins restored humanity to Duchamp, portray-
ing him as both a fixture on the intellectual landscape
and an engaging man with a great sense of humor.
Warholapalooza! also featured Warhols neph-
ew, the artist and childrens book author James
Mike Maizels
Visitors show off their Warhol-inspired crafts.
Warhola, who shared insights into his beloved un-
cles life and work and signed copies of Uncle An-
dys: A Faabbbulous Visit with Andy Warhol (New
York: Putnam, 2003). The book, like its author,
conveys a sense of adventure and invites the reader
into a world of creative inspiration. Warholas new
book, Uncle Andys Cats, is in bookstores now
(Putnam).
If Angell, Tomkins, and Warhola were the stars
of Warholapalooza! the program also enjoyed
quite a remarkable supporting cast: James Mc-
Manus, co-curator of the Duchamp exhibition,
and Jonathan Santlofer, an author and artist
whose work was included in the exhibition, gave
gallery talks that explained Duchamps great in-
fluence on Warhol.
Like our visitors, the museums program produc-
ers enjoyed pulling on the connecting threads among
various artists and sitters. At Warholapalooza!
those threads were made stronger and brighter by a
group of world-class presenters. Andy Warhol
claimed there was no more to himand nothing
more he wanted to saythan could be seen in his
art. Apparently, thats enough.
Listen to excerpts from Warholapalooza! at
www.face2face.si.edu.

Warholapalooza! 15
Interning at NPG
Maya Foo
Editorial Assistant
Theres never a dull moment as an intern at the Na-
tional Portrait Gallery, especially when you work
for the curatorial departments. After a summer with
the Department of Photographs and two semesters
with the Department of Prints and Drawings, I think
I have earned the title of veteran intern. Being able
to hold the objects, learn the curatorial basics first-
hand, write gallery labels, contribute design ideas for
an exhibition catalogue, and give an opinion about a
politicians unflattering portrait were just some of
the experiences I had while working for two curato-
rial departments. And to top it off, NPG art handler

and artist Todd Gardner painted my portrait!
The opportunities were endless. I took advantage
of as many as I could handle, and I got out of the
experience what I put into it. Because I was an intern
for a year, I was able to see projects to completion. I
helped develop an exhibition, from the early stages
of choosing objects to later reviewing the catalogue
layout. I also researched acquisitions that were later
approved by the Portrait Gallerys Commissioners.
My experience at NPGas part of a masters
program in museum studies at the George Wash-
Ian Cooke
Maya Foo in the Faces of the
Frontier exhibition
ington Universitywas invaluable to my profes-
sional development. I was able to use the research
skills I honed as an art history undergraduate and
apply them to my museum work. After my eye-
opening experience at NPG, I know that Ive cho-
sen the right professional field.

American Poets in England

Poetry Nation Review Publishes NPGs Poets
The English poet, editor, and pub-
lisher Michael Schmidt has been a
fan of the National Portrait Gallery
since he participated in the Walt
Whitman symposium in 2006. As
part of his interest in marrying the
visual and the verbal, he is publish-
ing a selection of NPGs portraits of
poets in his literary journal, Poetry
Nation Review. Working with his-
torian David Ward, Schmidt has de-
rived a preliminary list of images,
based not only on the poets career
but also on the quality of the art-
work and its artistic importance.
Each portrait will be reproduced
and accompanied by a brief essay
by Ward. The first selected was Af- Edgar Allan Poe by George K. complementary forces. For PN Re-
rican American poet Phillis Wheat- Warren, c. 1874 (after c. 1849 view, long committed to American
ley (c. 17531784), who is repre- daguerreotype)
sented by an engraved frontispiece
of her only book of poems from 1773. Wheatley
will be followed by May Swenson, Edgar Allan
Poe, Robert Lowell, and Henry
Wadsworth Longfellow at bimonth-
ly intervals (see www.carcarnet.
co.uk).
English literary tradition has
disparaged the depth and breadth
of Americas poetic history. Schmidt
hopes that publishing portraits of
American writers will convey a
fuller understanding of Anglo-
American literature to a wider au-
dience. He writes, When we can-
not hear a poets voice, a good
portrait can have a value very like
sound: the way the face is caught
by the eye and the way the voice
registers on the individual ear are
and other Anglophone poetries,
sharing some of the unusual trea-
sures of the NPG with our readers is a wonderful
opportunity.

16 Interning at NPG / American Poets in England

NPG Online
In the last few months, not only has the National
Portrait Gallerys Web site been redesigned, but
weve been showing up all over the Web. You can
find all of these new features at http://npg.si.edu.

Face-to-Face podcasts:
We are now podcastingyou can listen to Face-to-
Face portrait talks, interviews with artists, and lec-
tures from the museum. More than sixty episodes
are available, with subjects ranging from Abraham
Lincoln to Elvis Presley to graffiti art. New talks
are added as they occur in the museum galleries.
Listen and subscribe at http://npg.si.edu/event/
podcast2.htm/

Twitter
The Portrait Gallery is using Twitter to
help our Web audience stay current on
events, new exhibitions, and other mu-
seum happenings: http://twitter.com/npg

New online exhibitions

Faces of the Frontier: Photographic
Portraits from the American West,
18451924
http://npg.si.edu/exhibit/frontier
One Life: Thomas Paine, the Radical
Founding Father
http://npg.si.edu/exhibit/paine/
Reflections/Refractions: Self-
Portraiture in the Twentieth Century
http://npg.si.edu/exhibit/reflect2
Inventing Marcel Duchamp:
The Dynamics of Portraiture
http://npg.si.edu/exhibit/duchamp/

Face-to-Face blog
Stay current on Portrait Gallery news and
read about portraiture and history on our blog:
http://face2face.si.edu/
Recent posts:
Tommy Lasorda joins the collection of the National
Portrait Gallery
Happy 220th Birthday to James Fenimore Cooper
1968 U.S. Open: Arthur Ashe
Portrait of Albert Einstein by Max Westfield
Now on View: Edward Kennedy by Andy Warhol
Flickr
Did you snap a photograph of the Portrait Gallery
that youd like to share? Post it on our Flickr page:
http://www.flickr.com/groups/533594@N25/
Facebook
Stay in touch with the Portrait Gallery by becoming
a fan on Facebook. Receive updates on events and
new exhibitions and post your comments: http://
www.facebook.com/pages/Washington-DC/
National-Portrait-Gallery-Smithsonian-
Institution/8603882303?ref=ts

NPG Online 17
 NPG Exhibitions
Currently on View
New Arrivals
Through November 15, 2009
This installation highlights thirty-one selections of
recently acquired works. Portraits include oil paint-
ings of Revolutionary War heroes Charles Cotes-
worth Pinckney and Thomas Pinckney by John
Trumbull, a sculpture of Nobel Prize Laureate Elie
Wiesel by Miriam Baker, caricatures of Bob Hope
and Jule Styne by Al Hirshfeld, photographer Ansel
Adams by Edward Weston, and portraits of Martin
Luther King Jr. by Romare Bearden and Jack Hiller.
See pages 1011 for some of the selections.
Presidents in Waiting
Through January 3, 2010
John Adams, who viewed the vice presidency as the
most insignificant office ever invented, would
probably have never guessed that fourteen vice
presidents would succeed to the presidency. Por-
trait Gallery and loan items are accompanied by a
video program that includes original interview
footage with four former living vice presidents.
Sponsored by The Ford Motor Company Fund. See
page 7 for additional information.
One Life: Thomas Paine, the Radical
Founding Father
August 7 through November 29, 2009
Two hundred years ago, Thomas Paine (1737
1809) died in poverty. However, thirty-three years
earlier, Paines pamphlet, Common Sense, had
Is It Only a Shadow? by Grant E. Hamilton, 1898. From the exhibition
Presidents in Waiting
18 NPG Exhibitions
inspired Americans to declare independence. This
exhibition tells Paines tumultuous life story through
paintings, engravings, documents, and caricatures
and includes NPGs recently acquired portrait of
Paine by the French artist Laurent Dabos.
Faces of the Frontier:
Photographic Portraits from the American West,
18451924
September 25, 2009, through January 24, 2010
See page 4.
This exhibition will travel to the San Diego Historical
Society, California, from March 12 through June 6,
2010, and the Gilcrease Museum, Tulsa, Oklahoma,
from October 9, 2010, through January 2, 2011.
Outwin Boochever Portrait Competition
October 23, 2009, through August 22, 2010
See pages 1213.
William F. (Buffalo Bill)
Cody by an unidentified
artist, 1887. From the
exhibition Faces of
the Frontier
Thomas Paine by James Watson, after
Charles Willson Peale, 1783. From the
exhibition One Life: Thomas Paine
 NPG Exhibitions

Opening Soon New Arrivals

November 20, 2009, through
Portraiture Now: November 14, 2010
Communities The nearly thirty works displayed in this installa-
November 6, 2009, through July 5, 2010 tion span more than two centuries of American his-
See page 5. tory and culture. The breadth of works includes
paintings of nineteenth-century statesman Daniel
The exhibition and its programming have been
Webster by George Linen and a self-portrait by
made possible by a generous gift from The Ceres
Trust. William Beckman; sketches of astronauts Bob Crip-
pen, John Young, and John Glenn by Henry Cas-
selli; and photographs of singers Enrico Caruso,
Lena Horne, and Selena, broadcaster Edward R.
Murrow, and sportscaster Arnold Red Auerbach
with Bob Cousy.

William Beckman self-portrait, 1994

(background painted in 2003), gift of an
anonymous donor. From the exhibition
New Arrivals

John Glenn by Henry C. Casselli Jr., 1998, gift of Taylor Energy

Company LLC. From the exhibition New Arrivals

Julia Child by David Marlin, 1971, acquired

through the generosity of Ann M. Shumard
in honor of Thomas D. Matteson. From the
exhibition New Arrivals

NPG Exhibitions 19
 Presorted Standard
U.S. Postage Paid
Smithsonian Institution
G-94
Washington DC 20013-7012
Official Business
Penalty for Private Use $300

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and scholars whose programs we highlight here with behind-the-scenes visits, private events, tours,
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Contact Charlotte Gaither Morgan, deputy director of development,
At 202-633-8294 or gaitherc@si.edu

Portrait Puzzlers
1. 2. 3. 4.
Estate of Robert Templeton
Francesco Scavullo

Philip Grausman

David Byrne

She formed part of a Vice president under Winner of the Pulitzer In the mid-1970s, he
famous R&B trio, and by Lyndon B. Johnson, this Prize for Drama in 1949, cofounded the rock group
1969 she began her solo man was elected senator this well-known play- that produced hits such as
career with billboard- from Minnesota five times wright refused to Television Man and
topping songs including and made significant implicate others in his The Big Country.
Aint No Mountain High contributions to legislation testimony before the
Enough. supporting civil rights and House Un-American
education. Activities Committee.
All images are details.
Philip Grausman (born 1935), bronze, 1972 4. David Byrne (born 1952) self-portrait, photographic collage on board, 1986, gift of Time magazine.
Group, Inc. 2. Hubert Humphrey (19111978) by Robert Templeton (19291991), charcoal on paper, c. 1969 3. Arthur Miller (19152005) by
Answers: 1. Diana Ross (born 1944) by Francesco Scavullo (19212004), gelatin silver print, 1979 (printed in 2004), gift of the Motion Picture